Arpeggio superimposition

In jazz music, there are two main different ways of improvisation, the use of scales and the use of arpeggios. Great jazz improvisers as Wes Montgomery, George Benson, John Scofield, Mike Stern, Pat Martino or Barney Kessel master both scales and arpeggios. Arpeggios are very helpful devices to easily outline the chord changes especially in tunes with fast tempos as bebop tunes for examples. The basic use of arpeggios is to play them over their related chord, for example play a Gm7 arpeggio (G-Bb-D-F) over a G minor 7 chord or a C7 arpeggio (C-E-G-Bb) over a C dominant 7 chord. Over a classic II-V-I progression in C major (Dm7-G7-Cmaj7) you will play Dm7 arp, G7 arp and Cmaj7 arp. This way you take no risks and you are sure to underline and hear correctly the harmony. Unfortunately, this can be boring in the long run, that's why, in this article, we will see how to superimpose diatonic arpeggios to open new paths and create original and interesting jazz lines.